Francis O’Neill – Loopholes

Francis O’Neill provided detailed biographical information about the contributors to his collections of Irish traditional music, in a book titled Irish Minstrels and Musicians, published in 1913. The fiddler Edward Cronin was one of the more prolific of them. He was a native of County Tipperary, born about 1838, who emigrated to Troy, New York, before settling in Chicago. With reference to Cronin’s residence there, O’Neill observed that:

Visits to his home were fraught with pleasure, especially when he played in concert with two young friends from Troy – Patrick Clancy on the flute and Thomas F. Kiley on the mandolin. Clancy, Mrs. Cronin’s nephew, possessed a most wonderful voice, powerful and mellow, and to our unscientific ear the most delightful we had ever heard. On the violin the genial “Tom” Kiley swung the bow with a freedom which many professionals might envy. “The Connemara Fiddle,” as we facetiously termed the mandolin, was his favorite instrument, however. In playing Irish dance music he displayed a facility of execution almost inconceivable. To him “The Flogging Reel,” a lively, three-part dance tune, with its turns and graces, presented no more difficulties than “Home, Sweet Home.”

Kiley’s use of the mandolin is attested prior to the publication of this chronicle. A spoken introduction on each of two wax cylinder recordings announces that the following tune is “played on the violin, mandolin, and fife, by Messrs. Cronin, Kiley, and O’Neill.” The date of those recordings makes them the earliest association of the mandolin with Irish traditional music that has yet come to light.

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This post bridges the favorite topics here of Irish traditional music [ITM] and the autoharp. Two links will be considered, both geographical, but of vastly different extents. The more compact of the two spans a part of South Chicago and is mapped in the banner image. It was regularly traversed by Francis O’Neill, whose seminal collections of Irish dance tunes are well known in ITM circles.

His work is perhaps less immediately familiar to autoharp folks but any who play such music are likely to have material from O’Neill’s The Dance Music of Ireland, published in 1907, somewhere in their repertoires. There is no basis for suggesting that he had a reciprocal interest in the autoharp. However, he was involved with the Chicago World’s Fair held in 1893 and would all but certainly have noted the display of autoharps there (detailed in an earlier post).

The present text is not intended to inflate the significance of that encounter. From the autoharp perspective, the aim is to whet further interest in O’Neill’s work. Where his monumental role is already recognized, a bit of biographical and contextual detail is added to its discussion.

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Tag: Francis O’Neill

The Connemara Fiddle

The Midway Plaisance